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Another blackjack table. Another casino. This time, Dr. Lamar Woolsey was calling himself Mitch Feigenbaum.

This seemed to be an unlikely name for a sixty-year-old African-American. But his resemblance to the beloved star of a long-ago TV sitcom gave him such instant credibility that no one ever seemed to suspect he was someone other than whom he pretended to be.

He was winning bigger than previously, because he enjoyed the double advantage of being a card counter and a man with an intuitive ability to recognize patterns in apparently chaotic systems.

His intuition had been refined and enhanced by a life’s work in physics and mathematics, in each of which he held a doctorate. His specialty was chaos theory.

For most of its history, science had been reductionist, seeking to learn how things worked by analyzing their constituent parts. But as successful as the sciences had been, discoveries in the last half of the twentieth century revealed that the sum of human knowledge amounted to a few grains of sand, while what waited to be discovered was an infinite – and very strange – beach.

In every complex system – from solar-system dynamics to Earth’s climate, to crystal formation, to cardiological processes – just under the facade of order, which science had discovered and long thought it fully understood, lurked an eerie and disturbing chaos. But also, deep inside every chaos, an eerier kind of hidden order waited to be found.

Even a simple system, like a card game dealt from a six-deck blackjack shoe, was fundamentally chaotic, likely to produce complex and unpredictable results. As a card counter, Lamar Woolsey hoped to impose a profitable order on the random flow of cards.

After thirty minutes of play, the composition of the six-deck shoe tipped slightly in Lamar’s favor: somewhat rich in aces and face cards, a bit low on fives and sixes, but still ruled by randomness. He couldn’t yet justify aggressive betting.

Then something strange happened. A series of Hail Mary draws gave Lamar a glimpse of the eerie nature of reality, of hidden and mysterious order.

The dealer showed a queen above his hole card. Lamar had a ten and a six, to which he drew a five, beating the dealer by a point.

In the next hand, he drew a three and a seven while the dealer showed a six. He doubled down, but drew only a deuce. The dealer revealed a sixteen count – and drew a six, busting.

Now the dealer had an ace up, and Lamar had a four and a three. He drew another four. Then a deuce. Another deuce. Then a six. His final twenty-one beat the dealer, who had a nine under his ace.

None of those three wins involved card counting, and even the most paranoid pit boss would see them as nothing but luck.

Not a believer in luck, Lamar read them instead as one of those curious patterns that expressed a hidden order under the randomness – under the chaos – of any game of chance. This phase of the pattern, which benefited him, was a wave that offered effortless surfing. Until it lost its benign character, he ought to ride it.

He won nine more hands in a row, lost two, then won another eight with such unlikely combinations of cards that counting tens and aces could have had no effect on his fortunes.

Sometimes the power of hidden order can have, with its patterns, such an obvious presence in a system that its precise mechanisms seem within the theorist’s grasp – until chaos reappears. Even when Lamar played irrationally, splitting a pair of fours when the dealer showed a face card, he won. When the dealer showed an ace, Lamar doubled down on eight – and won.

After losing three hands in a row, he suspected that the patterns under the apparent chaos of the cards no longer favored him, and he asked to have his winnings converted into high-value chips to make them easier to carry. His thousand-dollar buy-in had grown to nineteen thousand.

At the cashier’s window, he converted two chips into folding money. After the two casinos, this left him ahead four hundred for the night. He intended to give away the other seventeen thousand in chips before leaving the building.